am very pleased to announce a new sponsorship relationship with General Motors. In
1997 General Motors signed the largest ever
sponsorship with the United States Olympic
Committee. The USOC was instrumental in
extending the relationship to USA Gymnastics and
adding General Motors as one of our treasured
official sponsors.

I
Kathy

The USOC recently has announced two additional grants to USA Gymnastics. An International
Relations grant of $50,000 was awarded to assist
with our Pan American Gymnastics Union and
African Union exchange programs, and a total of
Scanlan
$270,000 was awarded in Peak Grants to assist
with preparing our Men's and Women's Teams to
excel in international competition. Peak grants are only available
to programs that are among the best in the world in their sport.
Such recognition and funding for our Teams from the USOC is
vitally important and we appreciate their support.
Last year I discussed our member misconduct process. We now
have 26 people on our list of terminated members, plus three
others who have been terminated by the British Columbia
Gymnastics Association. We publish a list of these individuals to
alert members who may encounter them as potential employees,
contractors or colleagues. Our number one priority is to protect
our athlete members. Almost every time the list is reprinted I get a
call from a member wanting to discuss someone on the list.

-z
-

eft

,.....
...

.
o

z

Most of us think of sexual abuse as something that occurs between
male coaches and girls. Increasingly the cases we see are male
coaches accused and / or found guilty in the courts of sexual abuse
with boys. We all need to be on our guard to provide the best
possible protection for our athlete members. To do this, we must
expand our awareness of the many different faces sexual abuse has.
If you are a club owner or in a supervisory capacity, you should be
aware that the courts are increasingly holding those who know, or
who should have known, responsible for abuse. USA Gymnastics
attorney, Jack Swarbrick, reviewed a number of recent Court cases
and concluded: "r believe the case summaries offer compelling testimony for the importance of creating and administering the type of
member misconduct procedures you now employ. Even more so,
they demonstrate why your clubs should be supportive of those
efforts. While the analysis and outcomes in these cases differ, each
demonstrates that 1) minors who are victims of sexual abuse will
increasingly seek to recover from those individuals and institutions
that could have or should have taken steps to protect them from the

--14-=------------------«

abusers and 2) courts are willing to extend
liability to those classes of defendants."
What can you do to protect your club and
the athletes in your program against sexual abuse? A 1997 article in Womensport
magazine offered the following key
suggestions:
, • Recognize that this is a crime of
opportunity.

2. Realize how abusive coaches exploit
their power. Closed practices, unsupervised trips and team sleepovers
provide opportunities for abuse to
take place.

3. Be aware that abusive coaches recruit
parents. Todd Crosset, Assistant Professor of Sports Management at the
University of Massachusetts, said, "A
lot of these abusers are charming, and
they make it unthinkable, just unthinkable, that they would do this."
(I must note that this is venJ often the reac-

tion of people who know gymnastics coaches who have engaged in sexual abuse.)

4. Encourage children to report their
feelings and help them understand
what constitutes abuse.

5. Let coaches know they are being
watched. This may include places for
parents to watch practice and a frequent presence of club owners and
head coaches during workouts.
The Reese' s Gymnastics Cup in St.
Petersburg, Florida was a great success,
with a sold out, appreciative audience.
The St. Petersburg / Clearwater Sports
Foundation did a great job supporting
this event, as did the gymnastics clubs in
the area. The performances by the athletes were spectacular. I continue to be
impressed with the quality of performance by our 1996 Olympians who are
still doing a very high level of gymnastics. r hope many of you saw the broadcast of this event on Feb. 14 on NBC. •

TEe HN IOU E • VOLUME 18 • #3 ) } - - - - - - - - - - - - - - - -

All nominees for positions must be USA Gymnastics Women's Program Professional
Members in good standing for a minimum of two consecutive years, be at least 21
years old, and meet the prerequisites in Article VI of the Operating Code Sections H,
I, and J found in the Women's Rules and Policies. The positions are four (4) year terms
1998-2002.

Nominations are to be sent to the Women's Program Director, USA Gymnastics office by
April 15, '998.
National Junior Olympic Program Chairman (the National Junior Olympic
Program Chairman is elected by the National Junior Olympic Committee).
, nominate _ _ _ __ _ _ __ _ _ _ _ _ __ _

National Technical Committee Chair (elected by the National Technical
Committee).

National Elite Technical Chair (elected by the National Technical
Committee).

I nominate _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

1.
~,
~,

t

rom time to time, USA Gymnastics has been asked by the International Gymnastics Federation to help provide
instructors for Olympic Solidarity Courses. These courses are held in countries that
are striving to improve their gymnastics program. Recent courses have been held in Namibia, Virgin Islands,
Trinidad, and Guatemala. These courses range in length from a few days to a month, depending upon the course requirements and availability of course instructors. Courses will include both in-gym training and working directly with athletes and
coaches, and classroom lectures for coaches and administrators. You
will be asked to cover a wide variety of aspects of gymnastics from training principals and techniques
to structuring programs and sports sciences. All expenses are paid and a small stipend is usually
paid. If anyone is interested in experiencing new and exciting countries and at the
same time becoming an Ambassador for USA Gymnastics, this is for you!
• ~~

COU rS€S

REQUIREMENTS FOR APPLICATION .............. ·
• Good basic knowledge of the sport of gymnastics.
• Able to work with a large number of athletes and coaches
at the same time.
• Able to structure training sessions and give direction
to others.
• Basic knowledge of progressive gymnastics
......
development, program structure, nutrition,
~
and sport psychology.
E~
• Must be able to leave the country for an
extended period of time (at least one week).
• Must be a Professional Member of USA
~
Gymnastics and Safety Certified.

they Relate to
by Tamara D. Biggs, National Elite Coaching Staff and Brevet Judge, Technical Consultant Clinician
any gymnastics programs in the United
States do not emphasize the importance of
learning dance basics
as they relate to gymnastics. Dance incorporated
into a gymnastics program
will help make the gymnast
aware of the correct body
alignment and use of feet
and legs while executing
various skills in her routines.
When a gymnast has complete
control of her body by using
a tight body alignment during
training and execution of
skills, it results in fewer
injuries. By using the following dance basics in your training program, your gymnasts

will experience a dramatic improvement in a safe and effective manner.
Proper body alignment throughout the
execution of every skill is something that
needs to be expected from all of our
gymnasts from the moment they walk
into the gym. The gymnast should be
expected to maintain and think about
body alignment throughout her workout, including warm-up and conditioning. For example, if the only time the
gymnast tries to hold her stomach in and
maintain a flat back is in a handstand on
bars and a scale on beam, then there are
going to be problems with other types of
skills. If a gymnast is standing in line
waiting to do a floor pass with her belly
out and back arched, she will be unable
to do a tight body round-off, much less
anything after that; so the whole pass
will most likely be loose
and sloppy. It is very
important for the coaching
staff to emphasize proper
body alignment at all
times so that the gymnast
will naturally maintain
good alignment with very
little thought. The gymnasts must create a good
habit of correct body
alignment at all times.

(FIGURE A)

FIGURE A

16...,,------------------j(
....

Another area of dance that
needs to be taught is that
of fast leg drives, called
Grand Battement in dance.
Many times we, as coachTECH N IOU E â&#x20AC;˘ VOLUME 18 â&#x20AC;˘ #3

es, expect the gymnast to perform high
level leaps, tumbling and vaults, yet we
do not address the issue of fast leg drives
in all directions and all of the leg positions that are used in gymnastics skills. It
is very important that we emphasize the
following dance skills before the gymnast attempts to execute certain gymnastics skills in order to prevent leg strain or
pulled muscles. Many gymnasts have
legs that are so slow that they are unable
to perform the skills that we expect. By
adding fast leg swings with full range
(overhead) in all directions, you can
improve many skills quickly and safely.
These leg swings need to come from a
push of the foot off the ground and free
of the ground (swinging action), but not
lifting. Lifting is considered a different
action! You want to simulate all the
actions needed to be used in every skill.
All actions of fast leg swings in gymnastics come from two areas: the push from
the ground, the beam or the board and
the swing action free of the floor, bar
swings, gainer skills and switch skills.
Have your gymnasts do 10 fast leg
swings forward, side, and back from a
5th position or parallel at the same time
emphasizing the push of the foot off the
floor on every swing. The next exercise
is swinging the leg in a continuous fashion forward and backward very quickly
and aggressively, passing through 1st
position. (FIGURE B)
It is very important for the gymnast to
master the correct use of the foot off the
ground so that a tight Achilles is
achieved (i.e., fully extended ankle/ foot)

)>------------------

as soon as possible and maintained as long as possible. (FIGURE C) Many ankle
injuries are due to a loose foot in the
air, which causes the gymnast to land on
the side of the foot, rolling the ankle.
A tight foot and ankle in the air makes
it easy and safe to land on the correct
part of the foot. If the gymnast is reminded to "make a calf muscle," it usually
helps her with the tightening of the
Achilles; however, the best way to
achieve this correctly is by "hands on"
work of the coach or dance teacher.
This really helps the gymnast to better
understand and quickly achieve maximum results. (FIGURE D) Performing
Battement Tendu Simple (extending the
working foot with the toe still in contact
with the floor) assists the gymnast in
thinking of a tight Achilles. Use this
exercise as you would a conditioning
program, with a lot of resistance of the
leg during opening and closing. This
exercise should be done slow at first and
then fast in the 5th position forward,
side, and backward.

FIGURE B
1

,
'J

FIGURE C

The next area to address is the breaking
down of the parts of the foot so that the
foot can be used efficiently and correctly
for dance and tumbling. The gymnasts
should perform ball of the foot snaps
from 1st position, striking a soft mat.
This exercise helps the gymnast feel the
dynamics and speed necessary in the
foot in order to do gymnastics correctly.

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Doing 10 slow and 10 fast is recommended. The gymnast usually has
trouble with the fast snaps at first,
but after a little practice she will
improve.

}

Many times a gymnast has trouble
with fast foot action, which can be corrected by performing toe raises properly. The toe raises must be done full
range and with the correct weight displacement on the whole foot, not just
one side of the foot. If the toe raises are
done incorrectly, the gymnast then
develops the foot incorrectly, which
results in a dangerously weak ankle.
Toe raises should be performed on one
foot and two feet, straight and bent
legs (a plie), slow and fast, parallel and
turned out. If done correctly, the
development is very noticeable and
improvement happens quickly. This
exercise can be done at any time
during the workout as long as it is

supervised and corrected. These
toe raises can be done 8 slow, 16
fast, and held 8 counts at the end,
but there must be resistance as in
any conditioning program.
The final area to cover is the
plie. It is very important to incorporate plies at some point in the
workout. Most gymnasts do not
have any degree of bend (pM) in
their legs while maintaining good
body alignment. They usually
have too much bend or not
enough bend to be efficient; therefore, the control of the muscles
which handle changing the levels
of bend is lacking. Performance
of plies in 1st and 2nd position, both
demi (half-bend) and grand (full-bend),
is essential. Plies must be done with
resistance and with the heels down (in
second grand position) to allow for
maximum benefits. Not only does it
increase the flexibility in the Achilles,
but it also develops the quadriceps and
hamstrings, as well as increases the
range of motion in the hips. (FIGURE E)

Supermatch
Gvmnastlcs
Ribbon
add20Cea.

LOG

Dept. GAC38

SEE OUR FULL LINE OF GYMNASTIC AWARDS

FIGURE E
sincerely believe that if the above
dance elements are included in your
training program, it will be of great benefit to all of your gymnasts. Remember
that these exercises only scratch the surface of what should be included in your
gym's dance program. I hope you will
consider placing more emphasis on
dance as an integral part of the training
of your gymnasts! â&#x20AC;˘

•

Dun In
quadrennium, we find that forward rebounding tumbling is
still valuable with upgraded skills combined in a series. The
following are examples of series which will receive 0.5 or
better bonus in the new Code.
1.
2.
3.
4.

In this discussion, we will only focus on forward rebounding tumbling series.

by Mas Watanabe
series of forward rebound tumbling
skills had a very important role in
the last Code. A series of layout front
to layout front to layout front full
was awarded 0.5 point in bonus in the last
Code. Therefore, this front tumbling pass
was used by a majority of gymnasts
almost as if it were a compulsory pass in
the routine. In the new Code for this

A

Since the forward rebound tumbling series will be initiated
from a front handspring most of the time, it is important for a
gymnast to learn a sound technical front handspring first.

Technical Pointers for a Front Handspring
1. From a hurdle step, arms and hands should be quickly
brought down to the floor without creating a shoulder
angle.
2. The front leg should be in a lunge position to ensure an
explosive push off from the leg. (It is a very common

problem that gymnasts do not bend the front leg enough
for a strong push off.)
3. The hands should be firmly on the ground prior to the
completion of the front leg extension.
4. The hands should remain on the ground until the feet
almost touch the ground, so the body will not float in the air
for long and lose important rotational power.
5. The most important body position is the end of the handspring which leads to the take-off position for the next skill.
During the turn over phase, the entire body should be fully
extended in an arched position. As the feet reach the
ground, the point of arch must quickly shift to the upper
chest so that the gymnast can be standing up on his toes
with the lower back straight except in the upper chest. The
arms should be brought directly upward from the floor at
shoulder width and end up straight over head. This position will ensure a proper take-off position for any type of
front salto following the front handspring.
The forward rebounding handspring (forward flip flop) is
an important skill to learn prior to learning the layout front. It
is similar to teaching a good back handspring prior to teaching
a whip back or a layout back somersault. Developing proper
technical execution of this forward rebounding handspring
will facilitate the mastery of a good layout forward somersault
and a series of rebounding fronts.

Progression for Forward Rebounding Handspring
(Forward Flip Flop) and Layout Front
1. Headspring
a. Headspring to heads pring (Series of headsprings)
First, a gymnast must be able to execute a technically good
headspring. This means that he must be able to finish the
heads pring in an extended body position with arms over head
------------------------------j( r EC H N IOU E

without excessive knee bend. In the teaching process for a series of headsprings, the
following pointers should be emphasized.
1) Hands reach further out for the second heads pring.
2) Excessive knee and hip bend in
between head springs should be
gradually eliminated.
3) Soon, encourage the gymnast to
slightly dive into the second headspring without any knee bend or hip
pike in the transition.
b. Headspring to dive roll
It is not necessary to emphasize an
arched position in the air during the dive
roll. Following are two technical pointers:

1) The diving action should be done
forward in a rounded body position
and emphasize extended legs and
hips at the take-off point.
2) The arms should always be kept
over the head at shoulder width.
2. Headspring to forward rebounding
handspring
Technically, a forward rebounding
handspring should be done identically to
the headspring except for the arms. The
arms will be kept straight instead of bent.
The most common mistake here would be
the premature opening of the hips and the
(continued on page 12)
• VOL UMEl B • #3

)f-----------------------------=,--=,,..,,.

FORWARD BOUNDING
TUMBLING (continued from page 11)

arching of the body as the gymnast reaches to the floor. The pike (or round) position
should be kept until the center of mass
(weight) passes well over the head.
3. Headspring to forward rebounding
handspring series

e. As the feet approach the ground, the arms should be
brought back to the over head position and the head
should be brought back slightly forward, in between the
shoulders, but still kept up. This subtle movement of the
head is very crucial, especially in a series of fronts . If the
head moves forward in the air during the arched position, it will cause the entire body to straighten (or
assume a piked position) prematurely. Then, the finishing body position will be too piked for the take-off of the
next front.

From headspring, continue to do forward rebounding handsprings more than
two or three times.

Technical Pointers for the Layout Front Series

4. Front handspring to forward rebounding handspring series

1. Always start from a good technical handspring.
Close attention should be paid to the ending body position
of the front handspring and the start of the layout front. The
positions which should be emphasized are:

Try the same sequence from a front
handspring.

a. arms over head at shoulder width
b. head up

5. Layout front off the vaulting board,
mini-tramp or on and off the trampoline.

c. arch in upper chest, not in lower back
d. stay up on the toes

Teaching the correct body position for
the layout front is very critical, particularly for developing a series of layout
fronts later on. Following are the technical pointers for developing a good
technical layout front:
a. At the start of the layout front
(which is the end of the front handspring), the body should be in an
arched position only in the upper
chest. The arms should be well over
the head at shoulder width. It is also
important to stay up on the toes at
the take off point.
b. At the take off, the arms should be
thrust forward and upward. It is
important to establish forward
momentum by thrusting the arms
forward in a hollow chest position
first, before the body arch.
c. Once the initial forward arm thrust
is done, the arms should be spread
to the side to shoulder height. Then,
the arching of the body (mainly
from the upper chest) should occur
immediately.
d. As the arch progresses and the chest
is opened further, the head should
be brought back into a proper arch
position.

2. It is important to establish good forward momentum from
the start.
Lifting too high in the first front layout will not help to
establish good rotational momentum. Rather, the first layout
front should be directed forward to establish a good body
rotation.
3. The precise arm action during the layout front will be helpful to keep the same rhythm during the series.
a. the arms should start from the over head position to forward thrust
b. then they should spread quickly to the side to establish
the axis of the rotation

c. the crucial part of the arm movement in the series is
bringing the arms back up to over head prior to the takeoff for the following layout front
4. The body needs to be in an arched position from the upper
chest.
The most common mistake is to arch too much from the
lower back area which will make it impossible to take-off
strong for the next front.
5. Just prior to the landing, the heels must be pulled back in
order for the feet to land slightly behind the center of mass.
Obviously, this action is to keep the forward momentum
for the series. During this action, it is important to tighten
the lower body (particularly legs and buttocks) and land on
the toes .•

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INTRODUCTION
Are you looking for an addition to
your existing gymnastics programming that's innovative, fun and
inexpensive to initiate? Consider
rhythmic gymnastics for preschool
age children.
Rhythmic gymnastics can begin
as small and as easily as adding
it as a station in your present
gymnastics program. Rhythmic
gymnastics at the preschool level
can also be offered as its own
program without ever getting into
higher levels and older age groups.
For those interested in pursuing
programming for 6 year olds and
older, USA Gymnastics offers an
excellent developmental level program (levels 1-4). Through text
and accompanying video, gymnastics staff can become knowledgeable to teach beyond the
preschool level.
This article will offer an introduction to methods and progressions
for teaching skills using rhythmic
gymnastics balls and alternative
apparatus. Using alternative apparatus serves as a fun progression
to the development of ability in
rhythmic gymnastics for the
preschool age child.

Getting Started
Both traditional and alternative rhythmic apparatus can be used to get things
going! Rock-climbing rope can substitute for jump ropes, kick balls can take the
place of rhythmic gymnastics balls, hula-hoops for rhythmic hoops, tennis balls in
the toes of a pair of tube socks for clubs, and wood doweling attached to ribbon
from a fabric store for a rhythmic ribbon! Look in all of those nooks and crannies
at home and in the gym. You may just have some of these items tucked away.
These implements can serve as great substitute rhythmic apparatus until classes
get off the ground.
As far as alternative apparatus goes, the sky is the limit! Just about any fun and
safe implements that can be used to develop hand-eye and foot-eye coordination
should be considered. Balloons, bubbles, koosh balls, bean bags, light weight tennis racquets, punch balls, feathers, swim noodles, cones, sponge bats /balls, scoops
and scarves are just some ideas.
Building confidence with a variety of implements which teach proper body movement is a great progression for the preschool age child! Implements that are soft
(bean bags, koosh balls) are helpful because they aren't as threatening to a child if
"mis-caught" as a heavier ball might be at the outset of learning a skill.
Lightweight objects (scarves, balloons) are easier to visually track in the air
because they stay in the air longer, facilitating in the development of hand-eye and
foot-eye coordination.

Method of Teaching
Begin by separating the apparatus skill from the body skill. Provide the participant with a mental concept of the pattern of the skill. This should be done by way
of demonstration and verbalization. Practicing each segment of the skill will facilitate learning the entire skill.
Even at this elemental level there should be focus on the fundamentals of good
technique. It is difficult to change incorrect form and technique if it has been practiced for many years. Keep in mind though that once given the knowledge of the
basic mechanics of the movement, with practice and time the skill will develop.
Once the preschooler has had a chance to experience the body element and the
apparatus element separa tely, the two can be combined.

Step 2
Teach the Concepts
Familiarizing the preschool participant with correct terminology will facilitate the learning of the skill. While it is important to
teach terminology, be careful not to overwhelm students with
big words. It is helpful to explain concepts using similes along
with a demonstration; "gently catch the ball like you would a
baby bird that has fallen from its nest. Reach up to meet the bird
in the air with your hands" vs. "catch the ball by absorbing the
impact when the ball contacts your hands."

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that the beanbag is drawing a rainbow
from your hand, into the air and into the
bucket ("pot of gold"). The beanbag
should go up, over and down!

OPPOSITES
above ...

• below

front ...

• back

around ...

• straight

heavy ...

• light

apart ...

•

high ...

• low
• out

together

before ...

• after

in'"

big ...

• little

large ...

close ...
fast ...

forward ...
up ...

• far
• slow
• backward
• down

near •
over •
right ...
straight ...

• small
• far
• under
• left
• bent

Koosh Ball and
Scoops Description
To make a scoop, cut off approximately
1" from the bottom of a l-gallon plastic
milk or water container.
Hold the handle of the scoop with the
big opening at the top. Remember to
keep the arm straight. The arm swings
from the shoulder to toss. Watch the
koosh ball while it is in the air. Meet the
koosh ball in the air with the scoop.
Reach up with a straight arm so that the
scoop is under the koosh ball.
Elements to experiment with:
• Tossing and catching koosh ball with
scoop in same hand

Step 3
Breaking Down the Skill into Smaller Parts
Feeling a measure of accomplishment is vital to keeping a
child's interest when learning a skill.
A skill can be broken down in two ways; by first using
alternative equipment and by breaking the skill into parts.
Alternative equipment is helpful when it can mimic the
mechanics of movement of the traditional apparatus yet
being perhaps lighter, easier to grasp, etc.
Alternative equipment that is relative to skills with a
rhythmic gymnastics ball includes scarves, balloons, koosh
or fleece balls, bean bags, sponge balls, punch balls and
beach balls.

• Tossing with one hand, catching with
scoop in opposite hand
• Tossing with scoop in one hand,
catching with opposite hand

Balloons
Description
Using two hands, toss the balloon into
the air. Keep the arms straight and watch
the balloon leave your hands (if participant holds on too long, the balloon will
be tossed behind them) . Keep wrists
straight, reach high with both hands to
stretch and catch. Catch the ball only
with hands, not against the arms or body.

Place a floor marker a distance away from the pitch-back. The
pitch-back should be angled up slightly.
Toss the beach ball up so that when it comes down it will bounce
onto and off of the net. Watch the beach ball leave your fingertips.
Keep arms and wrists straight. Be ready to step and catch because
the ball may not bounce exactly back to you . Reach up toward the
ball with your arms and hands. Bend at the knees when catching
instead of catching "into the body."
This skill can also be practiced with the allowance of the ball to
bounce first before it is caught.

Step 4
Introduce the Whole Skill
Having had the opportunity to practice the correct body and
equipment technique with the alternative equipment, and developing comprehension and confidence with those progressions, the
whole skill can be introduced. This whole skill is introduced using
the traditional rhythmic apparatus, in this case a rhythmic gymnastics ball.
Example-tossing and ca tching the ball
A rhythmic gymnastics ball is made of plastic or rubber and generally for the preschooler, the ball is about 16cm. Slightly larger
balls can be substituted.

(continued on page 18)

SMALL HAND APPARATUS FOR
3·5 YEAR OLDS
(continued from page 17)

Participants spread out on the floor
area while practicing small tosses and
catches to themselves. The ball should
be kept below head height. This will
familiarize the preschooler with the size
and weight of the ball (the student
should have already worked on other
skills with the ball, i.e., balancing in
hand(s), rolling on floor and body,
bouncing I ca tching).
Participants, still spread out, can do
medium to large tosses of the ball but
allow one intermediate bounce of the
ball before it is caught. This allows more
time to visually track the ball and by letting the ball bounce, some of the force of
the ball is diminished. Bend the knees
("pM") when catching the ball.

done. This will help to reinforce the positives and encourage improvement where it
is needed.
Ask the preschoolers questions about the skill. By verbalizing the skill or parts of the
skill, the cognitive process will enhance the performance of that skill.
You can also demonstrate the skill with an error in part of the skill and ask the children
to tell you what they liked and what you could make better. Developing their visual
acuity can also help them translate what they see into what they do.

Conclusion
: Start with the basics. What you teach your students now will have a lasting impact
• on them. Keep the environment positive, make it fun, and include a variety of activ: ities to keep their interest and meet your goals with your preschool participants.

•••

Translate terminology into a language they can understand. Rolling a ball on the
• rug using two hands could be ''building a snowman." Raising a hoop over head
•• and lowering it toward the ground can be "sunrise, sunset."

••
••

Be observant of the children both in what they do and what they say. If you listen
and watch carefully, they can be some of your best teachers! •

Preschoolers can next toss the balls with
medium height, using learned tossing
skills (watching the ball, straight arms
and wrists, letting fingertips be the last
thing touching the ball, tossing "up").
The ball can now be caught without the
intermediate bounce, using the learned
catching skills (watching the ball, meeting the ball high in the air, letting fingertips be the first thing to touch the ball,
keeping arms straight, plie while catching and lowering arms).

Step S
Develop Technique
There should be some frequency in
revisiting these lea rned skills. Body
memory is not automatic. For each correction you give, give at least one
acknowledgment of something well

--I-'--,-s-----------------{(

ore information on rhythmic gymnastics for 3-5 year
olds is available through Building Blocks. Building
Blocks is an informative series by Tracey L. Callahan
Molnar and Joni Spata which includes progressions.
lesson plans and ideas for teaching young children
rhythmic gymnastics. Tracey and Joni graduated with
degrees in physical education from George Williams
College. Presently. both direct and teach successful
rhythmic gymnastics programs in the Chicago area.

M

To order your Building Blocks guidebook contact USA
Gymnastics Merchandise at 1-800-345-4719 or for more
information on future guidebooks and videos. contact:
Tracey Callahan Molnar at 630-963-1300 or Joni Spata
at 630-968-2699.

TECH N IOU E • VOLUME 18 • #3 ) f - - - - - - - - - - - - - - - -

WLolesaie
PrograllD Update

S

nap Promotions brings you the USA Gymnastics
Wholesale Program, which offers licensed USA
Gymnastics gear at wholesale prices! Our goal is to
provide club owners with a turnkey program that
will help increase revenues for their gyms. Approximately 108
Member Clubs are currently benefiting from the Wholesale
Program. Most Member Clubs use our gear for gifts or resale in
order to raise money for their gym. From gym owners to
Booster Clubs, everyone who is participating is benefiting
from the only program that offers true
wholesale prices.

What is tLe .... ini.... u .... order tLat
<:an he pla<:ed'l
Clubs must follow the catalog's
required minimums, which
vary from item to item. For
example, the minimum
order for blankets is 4
while the minimum order
for grip bags is 12.

Can <:usto .... orders he ....ade'l
What are tLe ....ost
popular ite ....s'l

Absolutely! Clubs can add their logos beneath the USA
Gymnastics logo or choose to put only their
logo on the products. There is an additional
charge for customized products. This
charge covers the set-up and running
charges. For further details call 1-800-

Grip bags, zipper pulls, hair twisties,
and duffel bags are currently our
most popular sellers. We are offering
several new products in 1998. Among
711-5338.
these are water bottles, insulated lunch
sacks, journals, candles, blankets, picture ~~~~~~~~~~
frames, photo albums, tee shirts, sweat- ~
Snap Promotions is currently setting
shirts, wristbands, magnets, luggage tags
up a catalog that will be accessible on the World Wide
Web. Here, customers can view and purchase items as well as
and much, much more!
become aware of any specials or new items that are being offered.

WLat is the Iypi<:al profit IDargin'l
For participating clubs, the profit margin should be the same
forallitems- l 0 0

per«::enl!

If you have any products that you would like to see in the
Wholesale Program or have questions please call Snap
Promotions at 1-800-711-5338.•

Jeff Lulla is a member of the USAG National Preschool
Committee and co-author of the Kinder Accreditation for
Teachers (KAT) course. He is also a USAG National
Safety Training Staff member (responsible for training
safety certifiers). an industry consultant. and is a seminar
presenter for the USAIGC. and USA Gymnastics. He owns
two successful gyms in Southern California.

HOW IT WORKS...
Upon enrollment every student receives
a Poster TO TAKE HOME. The whole
family can monitor the student's progress
and share in the excitement as stars are
lwarded for skills leamed.
[neludes training videos, curriculum cards,
lward certificates and more.

For Details, FREE VIDEO, Information and Samples, call (800) 800-3162
Now find us on the Internet at http://www.usa-gymnastics.org/adslfunfitl

••
•
••
•
•
••

••
••

•••••••• ••

••
TELEVISED

•
••
•

••

••
••

••

•• ••••••••• • •

••

••
•
••

Las Vegas Gym Fest,
GG Congress, and
Rhythmic Workshop
The Go For It Academy in Las Vegas
will serve as the host facility for the
combined event: GymFest, General
Gymnastics Instructor's Congress, and
Rhythmic "Get It Going" and "Keep It
Going" Workshop.
Rhythmic courses will be conducted
Friday through Sunday. The GyrnFest
is scheduled for Saturday morning
with the GG Congress on Saturday
afternoon and Sunday morning. For
more information, workshop and
GymFest costs, registration forms, etc.
,.• , , , contact Steve Whitlock
"
"" or Cindy French at
317-237-5050 or
:
-2Jj"," '~~"C ..: email at 9 g@usa -

,'"

NCAA National
Team Rankings

Men's Gymnastics

""",

"
t. gymnastics.org

\'~

The 1998 Eastern College Athletic
Conference Men's Gymnastics
Championships will be held March
27 -28 at the U.S. Military Academy
in West Point, N.Y. Thanks to a
grant from the U.S. Olympic
Committee to assist endangered
and emerging Olympic sports, the
event will be televised, for the first
time, to more than 11 million
homes. The program will air on
New England Sports Network,
Empire Sports Network, Comcast
Sportsnet and MSG Network and
will be tape delayed to air in
prime time. At the time of print an airdate had not
yet been established. Please check your local listings
and tune in to see men's gymnastics on TV!

••••••••••••••••••••••••••••

1998 Rhythmic
Eastern/Western Open
Oualifying Events
Pplications for the 1998 Rhythmic
Eastern/Western Open Qualifying
Events are now available. If you are a
coach of a Level 9 or 10 rhythmic gymnast
and have not already received an application by mail, please call Cindy French at
(317) 237-5050 ext. 262. The Eastern event
is May 9-10 in Tampa, Fla. The Western
event is May 16-17 in Downers Grove, Ill.
Applications are due by April 6, 1998.

USA Gymnastics Online has added
a new service-a gymnastics club
search for Internet users. Parents,
gymnasts, coaches, judges and fans interested in locating a type of club in a geographic area will easily be able to access this information through the USA
Gymnastics website. Online users may simply enter city, state, zip, and gymnastics
program information (such as "Men's )0" or "recreational") to find the clubs in the
state which fit their program description.

TO USE TH E SERVICE, GO TO http://www . usa-gymnastics.o r 9

• Click on the star which says "Find a gym dub."
• Now you are at the "search" page of the dub query.
• You can type in the following information to identify
the geographic area for your search: city, state, zip.
For more information contact Steve Whitlock at 317-237-5050 ext. 236 or email
Steve at educate@usa-gymnastics.org.

as of February 2, 1998

MEN'S
# Team
I.

2.
3.
4.
5.
6.
7.
8.
9.
10.
II .

12.
13.
14.
15.
16.
17.
18.
19.
20.

I.

II.

12.
13.
14.
15.
16.
16.
18.
19.
20.

(HIGH SCORE)

California
U. of Iowa
U. of Illinois
Ohio State
Penn State
Brigham Young
Michigan State
U, of Oklahoma
U, of Nebraska
U, of Michigan
Illinois-Chicago
U. of Mass.
U.of New Mexico
Navy
William & Mary
Temple Univ.
U.of Minnesota
Stanford Univ.
Army
Air Force Acad.

WOMEN'S
# Team
2.
3.
4.
5.
6.
7.
8.
9.
10.

Score

Score

U, of Georgia
U. of Utah
U, of Alabama
U. of Florida
Penn State
U. of Kentucky
UCLA
U. of Michigan
West Virginia Univ.
U. of Minnesota
Arizona State
Stanford Univ.
Ohio State Univ.
Oregon State
L.S.U.
Illinois-Champaign
U. of Nebraska
Michigan State
U. ofWashington
Utah State

NOTE: Special Championships ticket information and order form for
Congress attendees will be printed in the April issue of Technique.

RATES:
$100 for single; $111 for double;
$131 for triple; and $151 for quad.

Reservations are made directly with the
Reservations Department (317-262-8100),
01' through the Central Reservations
Department (800-228-3000). It is
important that you identiftj our group
as the "USA Gymnastics National
Congress" when making reservations.

Hyatt Regency Indianapolis

Congress Rates and
Registration Dates
$175 Pre-registration

NOTE: The Congress Schedule,
Registration Form, and Add-On
Registration Form will be printed
in the April issue of Technique.

At State Capitol
One South Capitol Avenue
Indianapolis, IN 46204

317-632-1234

THE CUT-OFF DATE:
$200 On-site
No pre-registration after July 24 (registrations must be postmarked by July 24).
After July 24, you must register on site.
Non-Members $275

Reservations after this date will be accepted
on a space and rate availability basis.

CHECK-IN TIME:

TECH N IOU E • VOlUM E 18 • #3 ) } - - - - - - - - - - - - - - - - -

Transportation /Travel Arrangements
The above hotels are a very short walk from the Indianapolis Convention Center and a
short walk (5 blocks) from Market Square Arena.
Taxi service from the airport to downtown is approximately $20.
Hotel parking: TBD at both hotels
Ross & Babcock is the Travel Agency of Choice for USA Gymnastics. Call the USA
Gymnastics Travel Desk (317-237-5050, ext. 259) now to make your reservations for the
1998 USA Gymnastics Congress. Ross & Babcock is a full-service travel agency and can
arrange for all of your travel needs.

Presentations

RATES:
$85 single through quad occupancy.
An $85 deposit of each of the confirmed
rooms will be due 14 days after confirmation (but no later than the cut-off
date) . These are refundable if canceled
seven days or more prior to arrival date.

Reservations made directly with the
Hotel (317-632-1234). It is important
that you identifij our group as the
"USA Gymnastics National Congress"

Exhibition Hall
The Exhibit Hall, located in the Indianapolis Convention Center, will provide Congress
attendees with the opportunity to see the latest and best in equipment, apparel, and services. General Gymnastics groups and clubs will have the opportunity to do exhibitions
in the Exhibit Hall. If you are interested in information about this, contact Steve Whitlock
(317-237-5050, ext. 236) or email at educa t e@usa - gym na s tic s • argo

Special Assistance
For any Congress attendees with needs requiring special assistance, please contact Steve
Whitlock at USA Gymnastics (317-237-5050, ext. 236) no later than July 24.•

QUAUIT CHAMPIONSHIP AWARDS

WITH

fREE

30"

RlBBONI

4. Cast squat on-This specifically
does not have an amplitude deduction because there is no height
requirement.

Tips for
Teaching

5. Jump to long hang kip-This forward swing is not the same as the tap
swing later in the routine. Here the
gymnast should maintain a straight
hollow position from the time she
jumps off the low bar until she pikes
for the kip. There should be no arch
in the swing. The new deduction of
"failure to finish in a straight hollow
position with feet slightly in front of
bar" needs to be a straight hollow
position from the shoulders to the
hips. The feet in front of the bar will
show a pike in the hips. That body
position is the correct technique.

£ler extensive travels teaching the compulsory exercises to coaches
all across the country, I have outlined below some of the areas that
are not emphasized in the text and should benefit you in teaching
and judging the routines. Remember judges and coaches, you must
always refer to the general deductions for faults. Only specific deductions
for specific techniques will be listed in the gray boxes.

7. Back hip circle-A straight hollow
body position, straight arms, and
good rhythm are the key points to
look for here.

Bars • Level S
1. Straddle or pike glide kip-The technique for this skill has not changed
from the last cycle; however, there are
some new deductions for judges to
use to help separate the gymnasts.
2. Front hip circle- udges should look
for a straight body going into the circle. An arched "swan" position before
piking is not desirable and is a deduction. There is no deduction for specific
timing of when the pike occurs. It is
acceptable to have a slight arm bend
in this skill, but the arms must be
straight at the completion of the circle.
3. Cast to Horizontal and return to
front support-Points of emphasis
on the cast are the body alignment
and height. Casts that have the heels
at horizontal with the back arched
and torso well below horizontal
would receive not only the body
position deduction, but also the
amplitude deduction as well. As in
all casts, the arms must be straight.

.-12-=-=-4---------------« r EC H H I QUE·

8. Underswing-The emphasis on this
skill is the straight hollow body position . There are no specific height
requirements on this skill; however,
the deduction of external amplitude
listed on page 158 could be applied
here if the gymnast lacks swing.
9. Counterswing-The text and deductions are very specific here for the
judges. Remember that the focal
point of the straight line is from the
hands to the hips, NOT hands to feet.
The feet must stay together on this
skill. The gymnast is allowed to have
a pike in the hips or extend her hips
open.
10. Tap swing forward-Be sure to look
for the changes in body positions from
hollow to slight arch to hollow again.
11 . Counterswing-see #9
12. Tap swing forward with 1/2 (180°)
turn dismount-Look for the same
body position changes as in #10. To
fulfill the amplitude requirement, the
body must swing above 45° (from
vertical under the bar). The major
point of discussion has been the
"regrasp" deduction. It is important
for the gymnast to "contact" the bar

VOLUME 18 • #3 ) f - - - - - - - - - - - - - - - - -

again after the 180° turn. If there is no
attempt to get the hand back to the
bar, then a 0.30 deduction would be
applied. Slapping the bar would be
an up to 0.20 deduction. Remember
that the hand position is optional.
Both hands do not have to change.

Bars • Level 6
1. Mount-Straddle or pike glide kip-

see levelS #1
2. Cast to 30° above horizontal-Points
of emphasis on the cast are the body
alignment and height. Casts that
have the heels at 30° with the back
arched and torso well below horizontal would receive not only the body
position deduction, but also the
amplitude deduction as well. As in
all casts, the arms must be straight.
3. Clear hip circle to 30° above horizontal-The deduction of contacting
the bar with the hips has been
reworded to help clarify the proper
technique. "Hips touching the bar as
upswing finishes 0.80." The WTC
clarified this deduction stating that to
take this deduction , the gymnast
would need to finish in a front support. If a gymnast brushes her thighs
along the bar while circling, it is considered an external amplitude deduction, NOT an 0.80 deduction.
4. Straddle or pike glide kip-see
LevelS #1
5. Cast squat on-see LevelS #4
6. Jump to long hang kip-see LevelS
#5
7. Cast to 30° above horizontal-see
Level 6 #2
8. Long hang pullover-Be sure to look
for the changes in body positions
from hollow to slight arch to hollow
again. The text states to pass through
a support phase. It does not specify
whether or not this phase can be in a
clear support or not. Good rhythm
and continuity from the pullover to
the underswing is essential.
9. Underswing-see LevelS #8
10. Counterswing-see LevelS #9
11. Tap swing forward-see LevelS #10

12. Counterswing-see LevelS #9
13. Tap swing to flyaway dismount
(tuck, pike, or straight)-Be sure to
look for the changes in body positions from hollow to slight arch to
hollow again. The major emphasis on
the dismount is the height of the
saIto. The degree of bend of the hips
and legs in the tuck and pike salto is
only a minimum of 135° as opposed
to the 90° in the back salto in floor
exercise. There is not a deduction
chart to show the degrees of the forward swing into the saIto. Therefore,
judges will need to use a saIto releasing at the height of the high bar as
their ':.perfect model" and tailor the
deduction according to the lack of
forward swing.

closes her legs during the attempt of
the handstand.
5. 114 (90°) turn to side pose 1/4 (90°)
turn-Body alignment and high
releve positions are the key here. If
performed correctly, the steps will be
small and quick.
6. 1/2 (180°) turn on one leg in forward
coupe-As in all the dance skills,
posture and alignment is the key. The
turn should be performed on high
toe; however, be aware that the heel
must lower at the completion of the
turn. As in the last cycle, the gymnast
has a choice in transferring her
weight to prepare for the turn. All
four acceptable turn preparations are
listed in the glossary on page 180. The
turn technique for all compulsory
turns HAS changed . Gymnasts
should no longer circle their leg
through a low side position (ronde
de jambe). This would be incorrect

sit-The arms are not required to be
straight as the gymnast jumps off the
floor. However, she must straighten
them as she finishes the front support.
The mount through to the stand
should show good continuity and
rhythm. A knee scale is not desired
and would be a break in the continuity.
2. Backward swing turn-The height
of the leg does not have to be even on
each side. This means that if a gymnast kicks shoulder height on the first
swing and the leg reaches slightly
above horizontal on the second, there
is no deduction.
3. Contraction-This is a tempo/rhythm
change, NOT a major element. Look
for quick sharp changes. It is not a
body wave.
4. Cross Handstand-The lever position on a straight leg both in and out
of the handstand is something new
for the judge to evaluate. Also, the
gymnast should kick directly to vertical and join her legs immediately.
Holding a split handstand before
closing the legs together would be a
rhythm error. The deduction for
"failure to close feet in vertical" has
been clarified so that everyone
understands that this deduction is to
be taken only if the gymnast never

technique and would be considered
a text error.
7. Arabesque-Scale-ArabesqueDuring each arabesque, the chest
must remain erect. While tilting in
and out of the scale position you
should see an "arabesque position"
as opposed to a straight line lever
position. Be sure to look for squared
hips with the legs turned out.
Two straight leg leaps-Even though
this is not listed as a "series," the elements must be directly connected.
Failure to connect these would lead
to an up to 0.20 deduction . The
emphasis here is NOT on split.
Judges will need to key in on good
hip rise and correct posture. The back
leg should pass through the
(continued

arabesque position as she lands but
she should not stop in arabesque.
This would be a rhythm deduction.
The deductions written for the leaps
are very helpful to aid in separating
good leaps from bad leaps.
9. Squat tum-Watch for good vertical
alignment of the torso during this
turn. The quick jumps following the
squat turn should show sharp precise position both in the arms and
legs. Another key point of focus on
these small jumps is the tight releve
positions.
10. Cartwheel 1/4 (90°) tum inward-As
in all the acrobatic skills on balance
beam, the gymnast must pass
through, NOT hold, the lever position
going in and out of the cartwheel on a
straight leg. The cartwheel should be
stretched completely through the vertical with the head in alignment. A
long cartwheel will show the nice
stretch with the feet landing approximately five of the gymnast's feet away
from the hands. When dealing with
the completion deduction, judges
need to remember that this is not like
judging optionals. In optionals, if only
the hands made it to the beam, and
both feet fell to the side, we would not
recognize it as a value part, and there
would be no credit for the element.
This is not so for the compulsory routines. In the above example, a judge
would deduct half of the element (0.40
in this case) for not completing the
cartwheel (plus 0.50 for the fall).
11.180° pivot turns-Watch for completion of each turn on high releve.
12. Presentation-This should be a
smooth transfer through 4th position
demi-plie with an expressive presentation of the arms.
13. Straight jump, straight jump, split

jump-Even though this is not listed
as a "series," the elements must be
directly connected. Failure to connect these would lead to an up to 0.20
deduction each. All three jumps are
major elements. In our last cycle of
routines, we required the gymnast to
travel forward on straight jumps. We
are no longer looking for that. The
emphasis on the jumps is height and
vertical alignment of the torso. As in
the leaps, split is not what is most
important. When performing split
jumps, height, body position and a
balanced split is what is most important. The heels MAY lower to prepare
for all the jumps, but MUST lower at
the completion of the final jump.
14. Cartwheel to side handstand, 114
(90°) turn dismount-Remember
that completion of the element is up
to the value of the element (up to 0.80
in this case). Execution and amplitude is up to the value of the element
(up to 0.80 in this case) plus 0.50. The
gymnast's hand MAY remain on the
beam as she lands.

Beam • Level 6
1. Mount-Jump to front support-see
LevelS #1
2. 1/2 (180°) tum on one foot in forward coupe-see Level S #6
3. Contraction-see Level S #3
4. Back walkover- Points to focus on
here include: 1. The continuous leg
lift into the walkover. The gymnast
should not stop with her leg at horizontal, nor should she begin arching
back before the front foot lifts off the
beam. 2. Vertical alignment of the
torso in the handstand phase (not a
sag or arch in the back). 3. Correct
hand placement i.e. hands placed side
by side with the thumbs on top of the
beam. A gymnast could have more
than just her thumbs on top of the
beam. The incorrect hand placement
deduction is for a staggered hand
placement, hands on top of each other,
etc. 4. When dealing with the completion deduction, judges need to remember that this is not like judging optionalso In optionals, if only the hands
made it to the beam, and both feet fell
to the side, we would not recognize it

--12.,---6-----------------I( r EC H H IOU E

as a value part, and there would be
no credit for the element. This is not
so for the compulsory routines. In
the above example, a judge would
deduct half of the element (0.40 in
this case) for not completing the back
walkover (plus O.SO for the fall).
S. 1/4 (90°) pivot turn to side pose 1/4
(90°) pivot tum-see Level S #S

6. III (360°) tum on one leg in forward
coupe- see Level S #6
7. Arabesque-scale-arabesque-see
LevelS #7
8. Two straight leg leaps-see Level S
#8
9. Squat tum-see LevelS #9
10. Cartwheel 1/4 (90°) turn to step
down, straight jump-Even though
this is not listed as a "series," the elements must be directly connected.
Failure to connect these would lead
to an up to 0.20 deduction. The gymnast should not lower her arms
between the elements. This would be
a text error and could very well lead
to a break in the series. Look for a
good vertical position in the straight
jump with the feet closed in the air.
The heels MAY lower to prepare for
the jump. As in all jumps, the gymnast should land through the balls of
the feet and finish with the heels
down on the beam.
11. 180° pivot turns-see LevelS #11
12. Presentation- see LevelS #12

13. Straight jump, split jump, split
jump-see Level S #13
14. Cross handstand 1/4 (90°) tum to side
handstand 114 (90°) tum dismountRemember that completion of the element is up to the value of the element
(up to 1.20 in this case). Execution and
amplitude is up to the value of the
element (up to 1.20 in this case) plus
0.50. This element has recently been
raised in value by the WTC from 0.8
to 1.20. The gymnast's hand MAY
remain on the beam as she lands.

Floor • Level S
Floor Exercise-Please refer to the article
on posture and alignment for additional

• V0lU ME 18 • #3 ) } - - - - -- - - - - - - - - - - -

comments. Please note that this routine may
be don e on just a section of the floor mat,
therefore omitting the floor pattern entirely.
It is strongly recommended that if available,
you use the entire mat with the desired floor
pattern. This is NOT an option for Level 6.
1. Assemble with 112 (180°) turnLook for good vertical alignment in
the air as well as upon landing.
There is no height requirement for
the arabesque position following, so
just focus on posture and alignment.
2. Back walkover to kneel-Points to
focus on here include: 1. The continuous leg lift into the walkover. The
gymnast should not stop with her leg
at horizontal, nor should she begin
arching back before the front foot lifts
off the floor. 2. Vertical alignment of
the torso in the handstand phase (not
a sag or arch in the back). 3. Correct
hand placement i.e., hands placed
side by side shoulder width apart. 4.
Straight leg lever on the way out.
3. Forward split- There is not a requirement for squared hips during the split,
just that the split be flat to the floor.
4. Prone 1/2 (180°) turn-This should
be a smooth transition. Performing
this in a "tight arch" position with
the feet off the floor would not be a
deduction; however, a deduction
could occur if the gymnast over or
under turns. On the contraction to
the stand, the gymnast should show
a smooth supple movement. This is
NOT meant to be a full body wave,
and should never receive major
deductions. (Unless she falls standingup).
5. Forward waltz step- The 45° turn
into the corner was designed to be a
small transition turn into the waltz.
It is NOT a horizontal arabesque
turn. The waltz step was not written
with a contraction. Adding a contraction, if done well, would be considered stylization or "fluff' and
would be acceptable.
6. 114 (90°) turn to slide step-The true
expression of this step is difficult to
grasp by reading the text. The gymnast should pass through the side
lunge, arms side middle without the
torso twist. As the gymnast drags the

toe, the torso twists. It should move
smoothly and be a very expressive
movement.
7. Front handspring to two feet-This
skill should show strong forward
horizontal momentum. The goal in
the front tumbling of these compulsory exercises is to develop momentum and power to go forward. We
are NOT looking for a high rising
floating front handspring. Repulsion
means quickness off the hands, NOT
hip rise. This does not mean that we
do not want repulsion. On the contrary, if the gymnast does not block
through her shoulders, she will not
show the power we are trying to
develop. We just do not want to see a
front limber here. The deduction for
repulsion was changed by the WTC
to up to 0.20. When counting the
number of steps into the front handspring, be aware that you start counting with the first step (movement of
the foot). A step into the "hurdle" is
also counted. Therefore, if a "righty"
gymnast were doing only one step
into the front handspring, she would
start by taking one step with her left
foot and then hurdle. This would be
considered one step. If she started
with her right foot, she would be taking two steps. There is a 0.10 deduction for each additional step.
8. Straddle jump, backward roll to
handstand-Even though this is not
listed as a "series," the elements must
be directly connected. Failure to connect these would lead to an up to 0.20
deduction. Look for good posture
during the demi-pM both in and out
of the jump. There is also no required
split in the handstand. We are no
longer requiring a hold in the handstand of the backward roll to handstand. Alignment, straight arms, and
a vertical handstand are the key
points of focus .
9. Balances and 10. Hop with 1/4 (90°)
turn-One of the nicest things about
these new exercises is the variety of
style and tempo in the dance. This section should show nice contrast from
the elegant down up up rhythm of the
balances, to the sharp, precise quality
of movement in the hop, kneel stand.

11. Leap hop-This should just show
nice execution of the legs and feet
with good posture. It is only
designed to move forward, NOT turn
into a major leap element. (That leap
is later in the routine!)
12. Dive forward roll-The emphasis
here is the straight hollow body position. Deduct for arch or pike.
13. 1/1 (360°) turn in forward coupesee Level 6 beam #6. The 180° and
45° turns that lead into the arabesque
should be one continuous turn with
good posture.
14. Two straight leg leaps, forward
chasse-see LevelS beam #8. Judges
need to look for the fourth position
demi-plie into the chasse. Make sure
to look for the tight releve ("lock")
position in the air of the chasse.
15. Grapevine step-The choreographers specifically left the focus

optional here to allow for some stylization. These steps need to show the
proper rhythm and the legs should
be turned out. There is no hip twisting in these steps.
16. Round-off back handspring, back
handspring rebound-The new
deduction listed in most of the tumbling is "Lack of acceleration ... up to
0.20." The judges mllst look for the
gymnast to gain in speed and power
throughout her series. The landing
should be a "stick," not a lunge.
A lunge would be a 0.l0 deduction
(using a 0.10 step deduction from
(continued on page 28)

come off the floor early (before the
buttocks touch the heels) to perform
a "fluffy toe fall," it would be a text
error.
3. Forward split-see Level S #3
TIPS FOR TEACHING WOMEN'S
J.O. ROUTINES LEVELS 5 & 6
(continued from page 27)

landings). When counting the number of steps into the round off, be
aware that you start counting with
the first step (movement of the foot).
A step into the "hurdle" is also
counted. Therefore, if a "righty"
gymnast were doing only two steps
into the round-off, she would start by
stepping with her right then left foot
and then hurdle. This would be considered two steps. If she started with
her left foot, she would be taking
three steps. There is a 0.10 deduction
for each additional step.
17. Candlestick-Look for good body
alignment here. As the gymnast performs the final pose, even though the
arms and focus are optional, body
alignment is not. The hips should
push forward on the very last note of
the music, not before that. Look for
good posture in the torso during
this pose.

Floor • Level 6
1. Tour jete-Look for good vertical
alignment in the air as well as upon
landing. There is no split requirement
in this element. The new point of
emphasis here is the joining of the
legs in the air. There is no height
requirement for the arabesque position in landing, so just focus on posture and alignment.

2. Back walkover, Back roll to handstand-The back walkover is the
only element in the compulsory exercises where a 180 0 split is required.
See Level S floor #2. We are no longer
requiring a hold in the handstand
of the backward roll to handstand.
There is also no required split in
the handstand. Alignment, straight
arms, and a vertical handstand are
the key points of focus. If the hands

of the jump. The lever position out
of the flic-flac does NOT have to be
performed on a straight support leg.
9. Balances-see LevelS #9
10. Hop turn 1/4 (90 0 )-see LevelS #10
11. Leap hop-see Level S #11
12. Aerial Cartwheel-The emphasis
here is a nice high stretched aerial
through the vertical. Stylizing by
putting an arabesque at the end is
NOT a requirement and should not
be rewarded.

7. Front handspring step out, front
handspring to two feet-These
skills should show strong forward
horizontal momentum. The goal in
the front tumbling of these compulsory exercises is to develop momentum and power to go forward. We
are NOT looking for a high rising
floating front handspring. Repulsion
means quickness off the hands, NOT
hip rise. This does not mean that we
do not want repulsion. On the contrary, if the gymnast does not block
through her shoulders, she will not
show the power we are trying to
develop. The deduction for repulsion was changed by the WTC to up
to 0.20. Upon landing of the front
handspring to two feet the gymnast
needs to perform the rebound in the
tight arch position. She is required
to land the rebound on two feet;
however, she does not need to pause
in this landing position. When
counting the number of steps into
the front handspring, be aware that
you start counting with the first
step (movement of the foot). A step
into the "hurdle" is also counted.
Therefore, if a "righty" gymnast
were doing only one step into the
front handspring, she would start by
taking one step with her left foot and
then hurdle. This would be considered one step. If she started with her
right foot, she would be taking two
steps. There is a 0.10 deduction for
each additional step.

16. Round-off, back handspring, back
salto tucked-The new deduction
listed in most of the tumbling is "Lack
of acceleration ... Up to 0.20." The
judges must look for the gymnast to
gain in speed and power throughout
her series. To prepare for landing, the
body must extend open from the
tucked position. This is not a "kick
out at vertical." The emphasis is on
the height and body position of the
saito. The landing should be a "stick,"
not a lunge. A lunge would be a 0.10
deduction (using a 0.10 step deduction from landings). When counting
the number of steps into the round
off, be aware that you start counting
with the first step (movement of the
foot). A step into the "hurdle" is also
counted. Therefore, if a "righty"
gymnast were doing only two steps
into the round off, she would start by
stepping with her right then left foot
and then hurdle. This would be considered two steps. If she started with
her left foot, she would be taking
three steps. There is a 0.10 deduction
for each additional step.

8. Straddle jump, £lic-£lac step outEven though this is not listed as a
"series," the elements must be directly connected. Failure to connect
these would lead to an up to 0.20
deduction. Look for good posture
during the demi-plie both in and out

17. Pose-It is acceptable to slide the
support foot to a turned out position
as the gymnast extends the leg sideward. As the gymnast shifts her
weight to the final pose, she may do
so with her legs straight or shift
through plie to finish straight. •

Dyer, Indiana, introduced "Nutrition Week" to the class students. The parents liked the idea of education along with physical learning. The instructors took the trapezoid and made it into
a food pyramid. Each trap piece had different pictures of that
particular food group on it to help the students learn the proper
food groups. The number 5 was the special number of the day.
The phrase "5 a day" was stressed to encourage students to eat
five fruits and/or vegetables a day for better nutrition.
Instructors talked about "sometimes" foods versus "always"
foods to encourage good eating habits and discourage dieting
as a form of weight control. Foods such as swiss cheese, cookies, apples, bananas, etc. were cut out of wood and used as
landing stations or to throw bean bags on or to just decorate the
gym during the week. Instructors also quizzed students on nutrition at the end of class.
PATTI KOMARA

DYER, INDIANA

1998 KAT Workshop Schedule

I$M"II
21-22
28-29

Orlando, FL
Missouri

Orlando Gymnastics
YMCA Kirkwoodl
Webster

5

Katy,TX

25

Greenfield,WI

Dance & Gymnastics
(Safety course on 4th)
YMCA

2-3
31

Hickory, NC
Clinton, CT

Shooting Stars
Gymnastics World

1mII~---------------6-7
13- 14

Columbia, MD
Newburgh, IN

Columbia Gymnastics
Newburgh Gymnastics

Im.f-------11 - 12
Pocasset, MA
Tumble Time Gymnastics
[.pn'liSS
TBD

Woodstock, GA World of Gymnastics
For more information about the above workshops,
contact Cyndi at 317-237-5050, ext. 237.

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--~ ~t~r~~tio~~ r~v~

by Dean Capelotti, Member of General
Gymnastics Advison) Panel, owner of
Fallbrook Gymnastics
eing selected to represent your country is one of the most thrilling things
you may participate in. Through
preparation and planning, you can
enhance this experience and make your
job as a group leader much easier.

B

Selection for a Gymnaestrada
To be selected for a World Gymnaestradal you must first have a performance
group and your group will need to
attend a National GymFest. You will
need to complete a "Notice of Interest
Form" for participating in the World
Gymnaestrada-this form can be found
in the GG Rules and Policies book. Upon
review by the WG selection committee,
you will be notified of your status.

Being a Good Citizen
First and foremost you are representing USA Gymnastics, your country, and
local community in a foreign land. It is
important that you communicate this to
your entire group, including non-participants. Make an effort to learn some of
the local customs of the host city you will
be visiting. As frustrating as it can be
when you don't speak the language of
the host country, always be courteous
and polite. Prepare your group to understand that things will be different in the
host country and to keep an open mind
and attitude.

The Rigors of Travel
Prepare your group for what is ahead
for them. Conduct meetings with all the
people going on the trip. If you can

arrange it, have a guest speaker from the
city or country in which you are traveling give your group an idea of what the
experience may be like. Let your group
know all the plans and what is expected
of them. You will need to answer questions such as:

• How do we exchange monel)? (How
much money should we bring?)
• What is our schedule and how much
free time will we have?
• When are the coaches in charge of
performers and when are parents
and chaperones in charge?
• How will the younger participants
be chaperoned?
• Will I need a passport? (Is my passport
current?)
• Will I need special visa documents or
immunization shots?
• What is provided in the travel package?
Personally check each member of
your group for his / her passport. We had
each member of our group make three
copies of his / her passport, one to be
packed in their bag, one for the group
leader, and one for assistant group
leader. If you lose your passport and you
have a copy it is easier to get your travel
documents replaced and get back home.
Make sure everyone applies for a passport at least two months prior to departure. Avoid nightmares-get passports
completed ahead of time!
Avoiding jet lag will save your group

I.--:-3...,..0---------------«

r EC H N IOU E • VOLUME 18 • #3 ) 1 - - - - - - - - - - - - - - - - -

headaches. Follow these tips and you
will be a happy camper:
1. No alcohol or caffeinated
beverages on the flight.

2. Drink at least 8 oz. of water
for every hour of the flight.
3. Get up and walk around at
least once an hour.
4. Set your watch to the time of the
city you are visiting. (If you are
switching planes, set your time to
that city and, on your final leg,
set your watch for your destination city.)
5. Take a shower or bath upon
arrival.
6. Try to acclimate to local time by
getting on their schedule immediately. (i.e, try not to sleep until it
is your normal time to go to bed,
eat meals on the local time not
the time it is where you live.)
7. Eat a good balanced meal before
you leave.
8. Avoid stress before you leave by
having everything packed two to
three days before departure.
Jetlag is real and results from a combination of several factors, the first being
dehydration of your body. The humidity
on a plane is about 3%, so you dry out
quickly. This is the reason for drinking
water and avoiding alcohol and caffeine.
Bathing or showering after your arrival
will help to re-hydrate your body.
Secondly, the blood tends to pool in the
lower extremities during a long flight
and contributes to the feeling of exhaustion. Standing and walking every hour
or so during the trip helps to counteract
this effect. A third factor contributing to
jetlag is your body's internal clock trying
to adapt to the local time-the sooner
you get on local time the sooner your
body function will return to normal. If
you arrive at noon and take a nap you
will most likely extend the jet lag effect
since you may have trouble sleeping that
night as your body stays on home time
instead of local time. The last factor in
jetlag is stress. When you start off with a
low stress level, jetlag is decreased.

Packing Tips - You will need to
carry what you bring. Travel in
airports and strange cities can be
cumbersome with 20 bags of stuff.
Pack what you need and leave
the rest at home. When packing
clothes, roll them into long
rolls, they will wrinkle less, and
are easier to pack. Suitcases with wheels
can be a big plus, especially with
children who will have to pull their
own weight.

Fund Raising
The first thing you need to decide
when it comes to fund raising is to
do it or not! Most gym owners
and coachers are not professional
fund raisers. Evaluate the time
commitment that must be made if
you take on fund raising. Will these
commitments hurt the gym? (What task
will you not get done because you are
busy doing fund rasing?)
When you decide to fund raise for
a major goal (such as the World
Gymnaestrada), you have to be realistic-the more time you have, the greater
your ability to raise funds. Fund raising
is hard work-not a free ride. The people
involved in the effort must be willing to
do their part. You will always have some
who want to fund raise and others who
do not.
If your group decides to fund raise,
set up a committee to oversee the project.
Fund raising ideas are a dime a dozen.

You will need a system in which to filter
through the ideas so that you only put
energy into the most useful ideas. Keep
in mind that your group's time is precious so you don't want to spend time
and energy on a project that does not
result in a high payoff. Avoid door-todoor sales like candy bars, pies, pizza,
etc.-these are low profit schemes for the
time spent and will burn your group out
before you raise even 10% of your goal.
It is much better to have two or three big
projects where you can make a lot of
money than to have many small fund
raisers. One question I use to evaluate a
(continued on page 32)

pair two young children (7 and under) .
Have one adult for every two pairs. In
crowded situations like airports and big
cities, one adult will have his / her hands
full monitoring four children.
Each person should have a watch so
they know what time it is. It can be very
frustrating traveling in groups if there
are members who don't follow the
schedule! When you get to a new time
zone, make sure everyone "synchronizes
their watches" to the new time.
Plan for regular group meetings to
keep your group informed of daily activities and individual responsibilities.
Schedules will change (sometimes with
little notice)-be prepared to get the
word out quickly.

Be Flexible and Stay Calm
in Crisis
During international trips, something
will go wrong! Besides "crisis" situations, your group members will need to
adjust to differences in languages,
customs, food, etc. As the leader, it is
important that you set the example by
always being cooperative, flexible, and
accommodating.

Event Management on
Performance Day

PREPARING A GROUP FOR
INTERNATIONAL TRAVEL
(continued /1'0111 page 31)

potential fund raiser is, "For the time I
put into the project, will I make more
money than if I was working at my regular job?" If the answer is "yes" then the
project is a go, otherwise I do not do the
fund raiser.

Props and Stage Equipment
When traveling, you need to plan
ahead and consider utilizing props that
will travel well. This usually means your
props need to be small and easy to pack.
One idea is to have each performer carry
his/ her own props. If you have larger
props that the local organizing committee can provide, find out how much it

will cost to ship them to your destination
and add that to the cost of the trip.
Fragile props and costumes that take
special handling should be avoided.

Group Logistics
When traveling as a group it is a good
idea to have a group uniform. This does
not have to be expensive, just distinctive
so you can pick out your group member
in a crowd. A bright colored shirt can do
the trick or a unique hat. Just remember
when you try to move your group
through an airport or a busy city, it is
easy to lose someone. If you can spot a
stray child from a mile away, your job
will be easier. Use the buddy system
when you travel by pairing up all your
kids and have them stick together. Pair
older with younger children, but never

--1-=-3-=2---------------I(

On performance day, be prepared.
Take care of all your props. Meet with
your group leaders early in the morning
or the night before (if you have an early
stage time). Plan how you are to get to
the performance venue. Give yourself
extra time-if your group is late, you
will lose your performance time. Make
sure everyone knows what to do, where
to go, and when to be there! For large
groups this is a major task! Arrive at
least 45 minutes early. Use this time to
get your group together. Sitting in the
stands will help your group get a feel for
the performance area and help them
realize that "this is the real thing!" At
your assigned performance time, quickly, quietly, and politely go to the staging
area . Let the stage manager know you
are there and ready. After the performance, return back stage, change, and
leave the staging area neat, clean, and in
good order. Thank the stage staff, and
enjoy the rest of the day. •

TEe H H I OU E • VOLUME 18 • #3 ) l - - - - - - - - - - - - - - - -

-

W

e are quickly approaching the time when committee work
will begin on the Men's Age Group Competition Program
(AGCP) for 2001-2004. As a start, we would like to get as
much input from the coaching and judging commwlity as possible before the comnlittee begins its work. Please take some time
to look over, think about and answer the following questionnaire
concerning the men's jwlior program. Consider the issues and
your answers carefully. Tllis is your opportunity to provide valuable information concerning your program before the competition committee is formed or has its first meeting. Your opinions
and ideas are important, so please take advantage of this opportunity to contribute. Thank you for your time and effort.

4. The relationship between the FIG Code of Points and age
group rules has always been a topic of great debate. Do you
favor (please feel free to elaborate);
A. Using the FIG Code as is?

B. Using the FIG Code with only difficulty and / or bonus
requirement modification?

C. Using the FIG Code as much as possible with rule
modifications (current method)?

6. In GENERAL, what areas do you like with regard to judging in
the age group program?

C. Routine format (compulsory, modified optional etc.)

7. In GENERAL, what rule or format changes would you make to
improve judging?
2. Do you feel that the equipment and mat specifications are appropriate at allievels?

3. How do you feel about the organization and layout of the current
AGCP manual? How would you improve it?

8. With regard to the current program, would you prefer to keep the
same basic compulson) routines (Class V, VI and VII) with only
minor changes from quadrennium to quadrennium or completely
revise these routines even) four years?

MEN'S 2001 ·2004 AGE GROUP COMPETITION
PROGRAM INITIAL SURVEY
(continued from page 33)

VAULT

FLOOR EXERCISE

POMMEL HORSE

HORIZONTAL BAR

I
II

9. For the compulsory levels (V, VI and VII), what two or three
skills do you feel should absolutely be included in the exercise.
CLASS

PARALLEL BARS

III

STILL RINGS

IV
V

VI
VII
VAULT

PARALLEL BARS

•

HORIZONTAL BAR

12. What special rules or areas of judging do you absolutely want to
see retained in the junior program?
I

10. For class I, II, III & IV, what skill or skill areas would you like
to see used as special requirements? If you favor using the FIG
Special Requirement, just write in FIG.
CLASS

FLOOR EXERCISE

POMMEL HORSE

13. How do you feel about Developmental D's?

STILL RINGS

I
II

14. What skills do you feel should be Developmental D's?

III

FX
IV
PH
VAULT

PARALLEL BARS

HORIZONTAL BAR

SR

I

V

II

PB

III

HB

IV

11. What, if any, specific rules or judging areas do you feel are
adversely effecting each event at each class and what would
you suggest as changes?
CLASS

FLOOR EXERCISE

POMMEL HORSE

15. How do you feel the junior program should handle bonus in
the rules?

STILL RINGS

I
II

16. GENERAL COMMENTS

III

IV

V
VI
VII

I.--=-3--=4---------------i(

TEe H N IOU E • VOLUME

18 • #3 )}-- - - - -- - - - - - - - -- -

•

he USA G1Jmnadticd Hall of Fame id daddened to annoullce
the padding of deveral member.J in 1996 alld 1997.
The1J include:
Raymond "Ben" Bass ('59) was a member of the first class inducted
in the gymnastics Hall of Fame. He passed away on March 10,
1997 in California. Bass was a much decorated U.S. Navy veteran of WWII. While serving in the Navy, Bass won the
gold medal in rope climbing at the 1932 Olympic Games
in Los Angeles.

Richard "Dick" Beckner ('92) passed away September 9,1997.
A native of Los Angeles, Beckner and his brother, John
("Jack"), were members of the men's 1956
Olympic Team. The 1956 National AAU
Champion on still rings, Beckner also
competed on the 1955 Pan American
Games team.

,--

~

;Hall ofFame~r¥.;

.~~- ;£MenwerJ

-..

~~~Jn Mef1W~ _

Tom Hanvey ('81) died in 1996. Hanvey coached at David
Lipscomb College in Nashville, Tennessee, a powerhouse gymnastics club in the Southern Intercollegiate Gymnastics League in the 1960's.

Charles "Chuck" Keeney ('75) passed away in April of 1996 in Berkeley, Calif. His early training was at a local
YMCA in San Diego. He went on to coach at UC Berkeley from 1937-57. Keeney was one of America's premier
tumblers in the early 1930's, winning the AAU title in 1935.

Tom Maloney ('71) died in the fall of 1996 in Florida suffering from Alzheimer's disease. A coach at the U.S. Military
Academy at West Point for more than 30 years, Maloney coached the men's 1952 and 1960 Olympic Teams and
1958 and 1962 World Championships Teams.

Frederick "Freddy" Meyer ('59) was a member of the first class inducted into the gymnastics Hall of Fame. A twotime (1932 and 1936) Olympian, Meyer passed away October I, 1996 in Virginia. Getting his start in gymnastics at the New York Turnverein, Meyer was also involved as a judge for several years.

Marian Twining Barone ('75), a two-time (1948 and 1952) Olympian, died in 1996. Known not only for her gymnastics
skills, Twining Barone also excelled in other sports such as track and field. Twining Barone coached at South
Philadelphia High School, Marshall University and was an assistant professor at Temple University for 17 years . •

he philosophy of the Women's Program office
staff is that we are here to service the more than
60,000 athlete members and 11,000 professional
members of USA Gymnastics to the best of
our abilities. The shear magnitude of the program indicates the volume of responsibility of
the staff.

USA Gymnastics staff members are here to help you-the
members of our organization. In the next few issues of
Technique we'll introduce each of the departments
that make up USA Gymnastics. We'd like to
introduce the staff behind the phones so that
you can put a face with a name. We'd also
like to tell you a little about our departments so that you may take advanOn behalf of the membertage of what we have to offer.

The Women's Program Staff works under the direction of
the Women's Program Committee and five sub-committees
which govern every level and aspect of women's gymnastics. The Women's Program Committee, which is comprised
of the National Administrative Board Chairman, the National
Elite Program Committee Chairman, the National Junior
Olympic Program Committee Chairman, the National
Technical Committee Chairman, the Athlete Representative,
USA Gymnastics International Technical Consultant, the Vice
Chair for Women, the Women's Program Director and the
President of USA Gymnastics, serves as the liaison between the
USA Gymnastics Board of Directors and all Women's Program
sub-committees.

ship, the office staff also works

Last issue we introduced
with the National Association
of Women Gymnastics Judges
the Men's Program
(NAWGJ), Judges Certification (JC!),
Department, this issue
and the collegiate community.
we'd like to introduce
the Women's
To meet the needs of this diverse group,
Program
USA Gymnastics also contractually employs
Department.
a Collegiate Coordinator, Sandy Thielz; a five

The administrative aspects are governed by the Administrative
Board. The coaching committees, the Elite Program Committee
and the Junior Olympic Program Committees, govern the structure of the two competitive levels. The International Program
Committee is responsible for the activities of the national
team and the Technical Committee governs technical and
judging issues. All of the actions taken by the committees are
distributed to the membership through the Rules and Policies.

--1-=-3-=6---------------;(

member National Team Coaching staff (Artur
Akopyan, Vladimir Artemov, Tammy Biggs,
Muriel Grossfeld, and Gheza Pozsar); and a Research
and Development Director (Dr. Bill Sands). The schedules and work plan of these individuals are established
and arranged by the office staff. To support the education
of our coaches and athletes, the women's program staff also
works closely with a number of sports psychologists, nutritionists and athletic trainers. The regional clinics and training
camps receive the benefits of this network.
While KATHY KELLY - Women's Program Director, GARY
WARREN - the Elite Program Manager, CONNIE MALONEY - the

Junior Olympic Program Manager and ANGI ANDERSON - the
Administrative Assistant work closely together, we strive to
integrate into each other's areas, so that service to our members does not suffer from the absence of a staff member. Each
staff member prides themselves on being knowledgeable in
all programs that are under our responsibility.

TEe H N 10 U E • VOLUME 18 • #3 )f - - - - - - - - - - - - - - - - -

•

,

1

Kathy Kelly
Women's Program Director

The women's program staff implements all actions of
the committees and interfaces with the other departments of USA Gymnastics to achieve representation of
the program. Day-to-day operations might include:
drafting and distribution of committee minutes, organizing training camps, negotiating meet contracts and
hotel arrangements for our activities, preparing budgets, board, office and USOC reports, selecting athletes, coaches and judges for national and international competitions, producing educational manuals,
videos and other materials, attending office staff meetings, and written and verbal communication with the
membership.
The women's program
staff is dedicated to all
our members and joins
with our volunteer officers, coaches and judges
to bring the benefits of
gymnastics participation ~
to more and more young 1
§l.
women and to constantly (;;'
seek ways to enhance the
@
gymnastics environment If
for each athlete through
diverse participation,
educational programs,
and competitive structures. We are here to serve you
and to fulfill USA Gymnastics Mission Statement; "to
encourage participation and the pursuit of excellence
in all aspects of gymnastics." •

Gary Warren
Elite Program Manager

f

,
GYMNASTICS
---------------~( TE CH N IOU E •

va lU ME

1B • # 3 )}---------------""'3::'C=--1
7

II. NATIONAL ELITE TESTING PROGRAM
Conference call was conducted to discuss the need for deductions in
the National Testing Program. These deductions will become effective
at the American Challenge. The deductions were added to insure consistency of applying deductions when specific deductions were not
written in the past.

INTERNATIONAL ELITE PROGRAM COMMITTEE
December 13, 1997
Houston, Texas

Motion-Mary Lee Tracy

I. ROLL CALL
Chairman
Member
Member
Member
President
WPD
WEPM

Recommendation that a flat deduction of 0.5 be applied if there is
any deviation from the text on the first tumbling pass which states
"From a stand." (If the gymnasts takes one or more steps, the flat
deduction will be applied.)
Second-David McCreary

PASSED
Recommendation to charge Audrey Schweyer to provide deductions for the use of a Front Handspring, Front Tuck Dismount on
Beam and that they are equal to those applied to the RO Layout.
Motion-Gary Anderson

II. PAN GAMES SELECTION PROCEDURES

Second-Tony Retrosi

The committee discussed and finalized the Selection Procedures for
the 1999 Pan American Games. These procedures will be now forwarded to the Executtive Committee for approval.

PASSED
Front Handspring, Front Salto Tuck

III. JUNIOR INTERNATIONAL VAULTING

Poor body position throughout
(Open Hip /Shoulder angle desired

Up to .20

Recommendation that all Junior International Elites be required
to compete vault at the new FIG horse height of 125 em at the 1998
John Hancock National Championships.

Insufficient Flight
(Quickness off hands)

Up to .20

Lack of extension during repulsion

Up to .20

Motion-Steve Rybacki

Insufficient tuck

Up to .20

PASSED

Insufficient Height

Up to .30

Recommendation to the National Elite Program Committee that
their committee consider requiring Junior International Elites to
compete vault at the new FIG height of 125 em effective at Classics.

Insufficient Open

Up to .30

Second-Mary Lee Tracy

Motion-Mary Lee Tracy
Second-Debbie Kaitschuck

Recommendation to charge Audrey Schweyer to revise the deductions on vaulting to provide equality in the deductions applied for
the different vaults.
Motion-Gary Anderson

PASSED
This recommendation will be faxed to the National Elite Program
Committee for immediate discussion.

he WTC is pleased to present to your federation the
1998 CODE Supplement with the New Vault and
Elements, which were performed at the 1997 World
Championships in Lausanne.
During the November WTC Meeting, the committee
addressed many inquiries and requests for clarification of
rules related to exercise composition. In order
• to convey in writing several interpretations taught during the International Judges' Courses
• to bring about more uniformity in the applica tion of
judging rules and
• to again encourage more variety in composition and
artistic expression, the WTC issues Bulletin #4.
Please take notice that the 1998 CODE Supplement and the
modifications contained within the Bulletin #4 are valid as of

January 1, 1998.
We kindly request that this information be distributed to the
WTC chairperson, national team coaches and brevet judges
in your federation for use in their active preparation for
competitions through 1998 and 1999, leading to the 2000
Olympic Games.

For the FIG WTC with sincere best wishes,
Jackie Fie, President
IMPORTANT NOTICE: THESE CHANGES ARE IN
EFFECT AS OF JANUARY 1, 1998 FOR THE USA ELITE
PROGRAM ONLY.
THE DECISION TO INCORPORATE ANY OF THESE
CHANGES FOR THE JR. OLYMPIC PROGRAM (LEVELS
7-10) WILL BE MADE AT THE WOMEN'S TECHNICAL
AND J. O. PROGRAM COMMITTEE MEETINGS IN
MARCH AND MAY. CHANGES FOR THE JO PROGRAM
WOULD BE IN EFFECT FOR THE 1998-99 SEASON.

ARTICLES I • 7 GENERAL
• Elements are considered different, if they are listed under
1) different numbers or
2) listed under the same number when:
• there are different body position (tuck, pike,
stretched) in saltos
• there are different degrees of turns 1/2, 1/1 , 11/2
• the turn is inward or outward
• the leap takes-off from 1 or 2 legs
• on BB the acrobatic elements take-off or land on
1 or 2 legs
• mount elements are performed in the exercise.
(continued on page 42)

Inslrudor's
Manuals

Feature "What to look
For" guidelines, hints on
making your own rhythmic equipment, and
short combinations of
skills choreogrophed
to music.
#1306 (l•• 013-4) ........ $15.00

Studenl1Vor~Loo~s

Personal record for each student to
record progress. Illustrations
throughout may be colored.
#1305

(l •••11-2) ................... $5.00

#1307 (l •••13-4) ...

1991-98 Junior Olympic
Technical HandLoo~ for

Coaches and Judges

#1303 (l•••15-8)

_.

Brochure & Video

h full-color brochure and 4-minute
looped video describe all the facets of
rhythmic gymnastics from the preschool level to the elite gymnast.
The benefits of participation are
illustroted through captivating pictures of rhythmic gymnastics.
Perfect for the gym owner, school
program or recreational sports center promoting a rhythmic curriculum.
Each brochure has space provided for
local contact information.

Floor, Rope &. Ball
In this introductory book to three of the most
popular forms of rhythmic gymnastics, USA
Gymnastics presents all the basic skills that
gymnasts need to participote in one of the
most beautiful of the summer Olympic sports.
1997; Mendizabal (arginal Spanish);
Yanas (translation); Maslers Press; paper; 164 pp
#1310 •••• • ••$15.00

The Day In The Gymseries features training footage from clubs across the notion.
Each videofocuses on a level of training
at a gymnastics club in the United States.
This series shows candid, unrehearsed
views of typical workouts.
Elite Le~el - Cio«:innati
Gymnastil:s .l\«:adeDlY
Featuring on Elite Level workout from
Cincinnati Gymnastics Academy with
Olympic coach, Mary Lee Tracy and
Olympic Gold Medalists, Amanda Borden
and Jaycie Phelps.
2 tope set
#2705 .... . . ....... . . $29.95

GENERAL
GYMNASTICS
Three General
GyDlDasti«:s
This videois used to give the viewer a
general idea which General Gymnastics is
all about. The video features "1999,
Welcome Giiteborg", "A World
Gymnaestroda" and "FIG Gala"
from 1995 World Gynaestrada.
#2601 . . .. . . .. .. . ... . $10.00

Bela Karolyi's Running
Training Video

routines fromthe AA Competition.
Running TIme: 1 hour and 49 minutes

Their is also a Music Casselle for the Rhythmic
Gymnastics Group Compulsory Routines.

Bela takes you through a basic running
warm-up that he did with his athletes
everyday. The video gives the basic running movements to do during the warmup period at the beginning of a workout.
Running time: 11 minutes and 40 seconds.

# 2122 ............... $15.95

# 2309 .................. $10.00

#2962 . . ... . .. .. ... .. $10.00

WOMEN'S
World CLampionsltips
Training Tap e #1 &. #'1.
Bothof these tapes are from the World
Championships in Laussane, Switzerland. They
are of the top countries during their workouts.
You will see these top countries from the time
they walk into the training gym to the time
they walk out viewing their warm-ups, conditioning, complexes, flexibility, and routines.
Romania, Russia, USA, Chino, Ukraine and
selected other countries are featured.
2tope set
#2120 ... . . . .. . . . . . ..... $1 9.95

W o rld CLampio nsLips:
Team Pre-lims
This tape is fromTeam Preliminaries of the
World Championships. Youwil see most of
the USA routines with selected routines from
severol other countries including Romania,
Russia, China, France, and Ukraine.
Running time: 1 hour and 59 minutes.
# 2121. ... .. ............ $1 5.95

World CLarnpionsltips
Team Finals and U
Finals
This tape features the Team Finals competition with most of the USA routines and
selected routines from the top six
countries that made it to the Team Finals.
In addition, this tape also has selected

GLeza P o zsar's Ballet
Bar Training for
Gymn asts
This tape takes you through a suggested
Ballet Bar training session designed especially for gymnasts that was put togehter
by Gheza Pozsar. This tape was requested
by the National Team Coaches as a guideline for training their gymnasts.
Running TIme: 16 minutes
#2961. .... . ... . .. .. . $10.00

PLEASE NOTE
*AII USA Gymnastics videos are designed to be used for educational pu rposes by gymnastics
coaches and judges. All videos were prod uced with commercial equipment by amateur videographers unless otherwise stated. O ur O lympic technical videos are presented from one
camera angle and show the entire exercise without cuts, close-ups or other effects and
enhance me nts. Except for women's floor exercise, the videos do not have so und.T heAtlanta
Technical videos are available for purchase to USA Gymnastics members only.

WOMEN'S FIG CODE OF POINTS
(continued from page 39)

ARTICLE 9 • BARS

• 5.2.3 Special Requirements (SR): A-elements (whether listed
in the Table or commonly recognized) may be used to fulfill
Special Requirements.
• Article 6: The current philosophy for exercise content and
combination encourages an emphasis on the mastery of
dance and acrobatic choreography, presented with feminine
grace, artistry and personal style. Additionally, the opportunity remains open to submit new elements (Value Parts) and
new connections for Bonus Points, that have not yet been
performed and / or do not appear in the Table.
• 6.2 Bonus Points (BP): In order to gain Bonus Points, the element must be performed without a medium or large error,
that is without a deduction of 0.20 P or more.
• Article 7-2, Compositional Faults on UB, BB, FX: when more
than two (2) similar elements from the same structure group
are performed, a 0.05 P deduction for lack of diversified
composition should be assessed.
• Appendix 2 - Technique - Falls on landings of salto and dismount elements from UB, BB and FX:
• When a salto dismount does not land on feet first, no
Value Part is awarded and the Special Requirement is
not fulfilled.

• 9.5 Bonus Points for Special Connections (SC)
To encourage a variety of mounts in connection, "all
mounts with a salto or flic-flac may be used in a Special
Connection for Bonus Points," which includes:
#1.307 #1.309 #1.409 #1.411 #1.413 #1.512
• 9.5 BP for SC - Modifications: To encourage the use of all
D - elements, including those five (5) without flight or long
axis (LA) turn: #1.414 # 5.408 #7.406 # 7.408 #7.409
additional Bonus Points for Special Connection can be
given for direct connections of D + D (+ 0.10 P) performed
as a mount connection, connection within the exercise or
dismount connection, when one or both D-elements does
not contain flight phase or long axis (LA) turn.
Examples:
Jump with extended hips to handstand
on LB + Clear hip circle with 1/2 turn
to catch HB
D + D = + 0.10
L-Grip Front Giant + L - Grip Front
Giant with 1/2 turn + Tkatchev D + D + D = + 0.10 + 0.20
L-Grip Front Giant + Double saIto
forward dismount
D + D = + 0.10

Note: D (with no flight or turn) + C = NO BF
The D-element before the C-dismount must

• When a dismount is not attempted, the total deduction
is: 0.30 P. for 'no dismount' + 0.20 P for missing Special
Requirement, as well as 0.50 P, if a fall occurred.

contain a flight phase or LA turn (NO change).
• 9.6 An "Intermediate swing" can be defined as a "pump
swing or cast from a front support" and / or "a long swing
not needed in order to perform the next element." The
following examples of direct connections do not contain
an "intermediate swing":

ARTICLES 8 - VAULT
• 8.6.3 Second Flight Phase - To insure that the correct
deductions are taken for faults in the 2nd flight, there are
2 Modifications:
• Prescribed axis turn begun too late
up to 0.50 P
• Late open/ extension of body before landing up to 0.50 P
• 8.6.4 Landing - deduction moved from 8.6.3:
• Prescribed axis turn incomplete on landing

up to 0.30 P

• Vault # 4.201 (Round-off flic-flac on - Back salto tucked
off). The correct illustration should show
a tucked position in the 2nd flight .
# 1.502 (Handspring on - 2 1/2 twist off)
The correct landing position should
be facing the horse.

Choice of one gymnastic series with three elements OR one mixed series with at least three
elements (gym/acro/gym or acro/gym/acro)
#5 and 6 - Two gymnastic C-elements, which may be a
component of the gymnastic or mixed series

Note: 10.5.3 concerns only "connections of two
-gJjmnastic elements or
-gJjmnastic/acrobatic elements (or reversed)"
• Modification of' "wolf jump" description to take off from
both legs, in order to simplify recognition of Value Parts:
2.311 Wolf jump with 1/2 turn-take off from both legs
2.411 Wolf jump with 3/4 turn-take off from both legs
2.511 Wolf jump with 1/1 turn-take off from both legs

Note: If the "wolf jump" is performed with leg lift prior to initiation of the turn, the element must be submitted for evaluation.

Terminology change: Wolf jump with 1/2 (180°) turn- take-off from both legs
Note: The Wolf hop with 1/2 (180°) turn- take-off from one leg is no longer
listed. It would be considered as a variation of #2.203 Hop with 1/2 (180°) turn,
free leg above horizontal, also with take-off leg tucked - B

C

2.411

Terminology change: Wolf jump with 3/ 4 (270°) turn- take-off from both legs
Note: Wolf hop with 3/ 4 (270°) turn-take-off on one leg is no longer listed.
This element should be submitted to the RTC for evaluation for use at the
Elite level.

D

2.511

Terminology change: Wolf jump with 1/1 (360°) turn - take-off from both legs.
Note: Wolf hop with 1/1 (360°) turn-take-off on one leg is no longer listed.
This element should be submitted to the RTC for evaluation for use at the
Elite level.

POSITION AVAILABLE
WORLD CUP GYMNASTICS is looking for
a highly qualified girls team coach. Strong spotting skills and good coaching qualifications a
must. Beginner through Elite. Applicants should
be professional, energetic, and have strong
organization, and managerial skills. This
position is best suited for person wishing to
pursue, long-term career in coaching. World Cup
Gymnastics, Chappaqua, NY 10514, phone:
(914)238-3901. Fox: (914)238-3568. Email:
cjshh@ix.netcom.com
HIRING HEAD COACH, INSTRUCTORS.
lakeside Moine summer camp. live with,
care for, teach girls age 7-16. Complete gym.
Nissen equipment. Beginning students through
advanced. Consistent, doily instruction.
Gymnastics shows. Program's compulsory,
optional skills promote development, measurable advancement, interest. Knowledge of
USAG fundamental, optional skills; practical
knowledge of compulsory levels; ability to spot,
demonstrate; desire to teach children. Ability
to put children's need before your own
essential. College sophomores & up. Internships
available. Opportunity to teach other athletics,
arts, waterfront activities. 6/ 20-8/ 27. Non·
smokers. Kippewa, Box 340, Westwood,
Massachuselts 02090·0340; kippewa@tioc.net;
(781 )762·8291.
GYMNASTIC COACH/DIRECTOR desiring
to acquire a gymnastic school in the suburban
New York area. Must be personable, motivated
and enthusiastic to work in a creative, stimulating and fun atmosphere overseeing a program
with BOO students and a competitive team level
5-10. Full schedule of programs including dance.
Opportunity to build program further and ultimately own the gym school. Call 212-370-1169.
POSITIONS AVAILABLE-Career opportunities
are now open for qualified level 4-7
coach/ instructors for June '98 start. Club in 25th
season on Maryland's Eastern Shore, adjacent to
Salisbury State University. Full or port-time posi·
tions with competitive compensation, health
benefit, additional income options, and up to
6 weeks vocation time. Contact Bob Morris
at Delmarva Gymnastic Academy, Inc., 200
Bateman St., Salisbury, MD 21804; Phone
410-742-2053; FAX 410-860-9039; or E-moil:
hastings@shore.intercom.net
CREATIVE OPPORTUNITY FOR PROGRAM DIRECTOR/COACHES. Program
Director/ Head Coach needed for the operation
of a new Gymnastics Center in Western North
Carolina. Responsibilities will include coordination of programs for preschoolthru competitive

USAG Programs. Job will require hands-on
approach to coaching and overall operation of
business. Gymnastics Instructors must have
motivating teaching skills, be very dependable,
and possess on enthusiastic allitude with chil·
dren. Area has Great Climate with reasonable
cost of living! Salary package based on experience and certification. Please send updated
resume with salary requirements to; RESUME:
P.O. 80x 2932, lenoir, N.C. 28645.
ASSISTANT COACH: For well established gym
in Providence (RI) area. Experience with all
optional levels, with strong spoiling skills.
Oversight of compulsory levels. locol salt water
beaches/ski areas. Salary commensurate with
experience. Call 401 -434-1118 or fox resume
to 401-434-2366.
TEAM COACHES WANTED. Compulsory and
optional coaching positions now available for
energetic, professionals. Experienced coaches
needed to train compulsory ond optional level
gymnasts. We are located in beautiful southern
New Hampshire, 45 minutes from the ocean,
mountains, and Boston. Contact Tim Madore,
Owner and Head Coach at New England
Gymnastics Training Center, Hudson, NH at
(603)880-8482, fox (603)880·1800, Email:
NEGTC@AOl.COM
The city of Bowdon Recreation Deportment is
now accepting applications for the position of
Gymnastic Coordinator. Well established program. Must be enthusiastic and dedicated. Must
hove a degree in physical education or recreation from a college or university. Must have
experience in planning and coordinating gym·
nastic programs. Must have the ability to coach
all levels and competitive team. Experience
essential, must be able to deal with the public in
a profeSSional manner. Salary bosed on certification, experience and educational background.
Please send resume to Bowdon Recreation
Deportment, 136 City Hall Avenue, Bowdon, GA
30108, or contact Robert Thomas at 770-2588988. (fox 770·258-8987).
WOMEN'S TEAM COACH. Full time positions
with benefits and port-time positions are avail·
able for organized and motivated individuals
possessing strong spoiling skills. Salary is commensurate with experience. Our state of the art
24,000 sq. ft. facility is located just one hour
from Chicago and Milwaukee. Call Julie at
(414)694-0805 or send resume to Scomps
Gymnastics, 5711 77th St., Kenosha, WI 53142.
EASTERN GYMNASTICS ACADEMY, the
fastest growing gym in New Jersey, has recently
relocoted to a brand new 18,500 square foot
facility, and is seeking a permanent, qualified,
energetic coach to assist with its growth in the

FOR SALE
SOFTWARE FOR DUMMIES! SCORE MASTER,
the most widely used system in the US., scores
the largest meet in the U.S., The Gasparilla, with
over 2500 competitors. This score keeping system is very easy-to· use and has on on-line tuto·
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It can graph scores over on entire season. Comes
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web site: www.score-master.com (software
demo, info guide and user listing on web site).

VIDEOS FOR SALE. Po IIi Komara has produced many new videotapes in 1998. Call today
to order (219)865·2274. New topes include:
Using Props in Closs; What to do with those
Inclines, Octagons, etc.; Best Ideas from 1997;
Preschool Closs Themes, 4th Edition; Stoff
Manual (also available on disk); and a whole
years worth of new lesson plans completely computer generated. Each offering comes with a
videotape and manual of notes. 100%money
bock guaranteed for exchange or full refund.
GYM SOFTWARE. ClassManager Software.
For Windows 95 and Macintosh. Moc or Windows
graphicol interface with mouse control and on·
line help, NOT a DOS program. System records
all vital family information, closs registration,
schedules, team placement, instructor data, and
schedules, closs assignments, birthday parties,
etc. Maintains all tuition accounts, prints invoices
and receipts, and a complete history of all
payments and classes token. Can include a
built-in word processor for sending out customized lellers for membership campaigns.
Call for pricing: Atlantic Associates, 410 Boston
Post Rood, Suite 3, Sudbury, MA 01776;
(978)443·0560 (voice) or (978)443-7351
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FOR SALE: PORTABLE CUBE GYMNASTICS
TRAINING PIT. UCS brand 10' x 20' x 6'.
Can be used in ground or above ground.
Completely self-contained. like new, only used
1 year. Asking $1,200.00 (brand new from
UCS $6,000.00). Call Bensalem Gymnastics
(215)245-8848. (Bensalem, Po.).

FUNDRAISING
FUNDRAISING, RETAil, COllEaABlE. Fortman
Communications would like to announce on
exciting new fundraising program and retoil
opportunity. The exploding prepoid calling
cord industry is estimated to be 0 $5 Billion
dollar business by the year 2000. Fortman
Communications has issued the first 3 in a series
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The profits are great and the cords ore easy to
sell. Additional cards can be customized. Imagine
the possibilities! Call for a free brochure and
additional information. 1-800-260-6848.

To place a classified ad: $7S every 90 words. Deadline is the 10th of each proceeding
month for the next published issue. For example, the May Technique deadline is
April 10th. Send payment to: USA Gymnastics, Classifieds Ads, Pan American Plaza,
Suite 300, 201 South Capitol Avenue, Indianapolis, IN 4622S. Ads submitted without
payment WILL NOT BE ACCEPTED. USA Gymnastics reserves the right to vary format_
Techniqlle is received by more than 12,000 USA Gymnastics professional members, advertise your open position, product or service here
for great results! CalJ Luan Peszek at 317-237-5050, ext. 246.

• All materials !including the Safety Handbook) for 3rd Cycle courses
are provided at the course and are part of the course fee.
• Certification is good for four years.
• To achieve Safety Certification, the participant must be at least 18
years of oge at the time of the course.

* You must have your USA Gymnastics number on the registration form in order
to qualify for the discount. (If obtaining your professional or instrudor membership at this time, please indicate dote purchased)
You may not register lor a course to recertify ony earlier
than 8 months prior to your expiration dote.
No on-site registration. You must pre-register no later than 10 days
prior to the course.